Thesis--Wisconsin. / Includes bibliographical references (leaves 166-168).

Thesis (M.F.A.)--Rochester Institute of Technology, 1996. / Typescript.

Thesis (Ph. D.)--University of Michigan, 1981. / Includes bibliographical references (leaves 387-405).

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (p. 104-115).

Thesis (Ph. D.)--University of Chicago, Dept. of Art History, June 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (M.A.)--University of Alberta, 1997. / Submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Master of Arts, Department of History. Also available online.

This paper considers how the tradition of self-portraiture and alternative process photography can be used in conjunction with one another to perform the uncanny. I discuss the "uncanny" through three theoretical lenses: Sigmund Freud, Hal Foster, and Rosalind Krauss. I then go on to discuss how the "uncanny" has been used in alternative processes of contemporary work by examining Robert Heinecken and Joyce Neimanas. Finally by looking at Francesca Woodman's self-portraiture, I address how self-portraiture can be a type of performance and how this influenced my own series during my 2015 Fall semester. As a whole this paper addresses how my senior thesis work functions within art theory and art history.

Transitions developed after experiencing one of the largest transitions of my life from an autonomous being and business owner to a pregnant woman to a mother, all during my three year Masters of Fine Art program at Southern Illinois University Carbondale. The first section of the show follows my emotional progression throughout pregnancy, as well as physical form, highlighting inner conflict. An emotional conflict and progression is illustrated through the use of emotional landscapes on the exterior walls of the space. Each emotional landscape is created from 25 canvas prints that I photographed on my mobile devices. The interior walls showcase my growing pregnant torso and separated oversized heads. The second section of Transitions deals with the issues of motherhood, specifically the working mother. As a working mother and graduate student, I have had to spend a large amount of time away from my daughter, and because of this I have felt a large amount of guilt and sadness. To illustrate these feelings I created installations from empty rocking chairs and all of the milk storage bags that have been used to feed my daughter in my absence. These two sculptures bookend a 10 minute long projection of my drive home taken on my iPhone. Around the exterior walls of this space, images of my daughter sleeping, and personal affects of her room are shown on large 36"x24" digital inkjet prints.

Little research has been undertaken into the rapidly expanding genre of rephotography, where many developments have taken place in response to advancing technology. This thesis is practice-based and incorporates long-term fieldwork in Scotland. The primary rephotographic projects undertaken by practitioners in North America are reviewed and their innovative presentation of material to interpret changes to space and place through time, are assessed and analysed. This study considers the application of some of these practices in a Scottish context. The research sets out to collate and explore repetition through the construction of visual narratives and to better understand the representation of change in people and places over time. The narratives unintentionally formed when places are photographed and rephotographed by multiple practitioners are considered along with the establishment and consequences of iconicity. In a Scottish context, the research identifies three major sources of photographs: the closely aligned nineteenth century tourism-generated catalogues of George Washington Wilson and Valentines of Dundee and the Catalogue of the Countryside of Scotland created by Robert Moyes Adam. The overall picture that emerges from the research is one of opportunity with increasing democratic application, improved accuracy and greater ability to present and share results. Rephotography is known to be a powerful tool for the discernment and measurement of visible change and suggests avenues that might inform the interpretation and utility of repeated images. This research provides an overview from which limitations can be assessed or innovative application devised. While comparative monitoring may remain a primary application, projects – some sentimental and reflective - that explore personal experience, memory and loss can be explored with rephotography.